non metalic metal

8/12/2019 Non Metalic Metal

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or this issues EavyMetal Masterclassweve really gotomething quitepecial as Joeomaszewski paints

he 2009 Gamesay Miniature.

D I S P

L A Y M O D E L S

If youre attending this years GamesDay, be it in the UK, the US, Europe oranywhere else, then youll be in theenviable position to purchase this fantasticGames Day-exclusive miniature. The 2009model is a mighty Chaos Lord sculpted byMartin Footitt.

A miniature like this is the perfectsubject to be picked out for some specialtreatment, and we tasked Eavy Metals

Joe Tomaszewski to really go to town on it. Joe saw this as an exquisite display model,something for show rather than the rigoursof gaming.

With this in mind, Joe wanted to givethe model a scenic base to make it evenmore imposing and paint it in a veryadvanced technique that is particularlysuitable for displaying miniatures. Thetechnique is non-metallic metal. This ischallenging to achieve but in the hands of an Eavy Metal painter the finished effectwill be stunning. Thats not to say you haveto be an expert, on the following pageswell show and explain exactly how Joeachieved the armour effect, so the step-by-steps along with some painting experienceand a steady brush will see you through.

MASTERCLASS

TM

CHAOS LORD

Chaos Black Spray

Bleached Bone

Codex Grey

Chaos Black

Hawk Turquoise

Kommando Khaki

Liche Purple

Regal Blue

Scab Red

Scorched Brown

Skull White

Snakebite Leather

Astronomican Grey

Dheneb Stone

Baal Red

You Will NeedAll of these paints are available from the CitadelColour, Wash and Foundation ranges.

Wash: W Foundation: F

F

F

W


2/791www.games-workshop.com

When painting a model purely for display you shouldalways consider the direction from which the model willbe viewed. This is not only to position the model in thebest aspect but will also have a factor on how light sourceswill play off and reflect onto a model. This is especiallyimportant when painting in a non-metallic metal scheme,

as incorrectly judging how the light works couldcompromise the paint job. In this case Joe wanted themodel to be viewed straight on so he highlighted andshaded the armour to reflect that.

Once the armour was fully painted, Joe used colouredglazes to give it an almost unearthly hue.

Step 1. After undercoating the entire model Chaos Black, Joe began by basecoating the armour plates with Codex Grey.

Step 2. Watered-down Chaos Black was applied as a rough,heavy wash around the joins and raised areas of the armour.

Step 3. After the wash, Codex Grey was applied again to the raised areas to neaten up and form the basis of the highlight stages.

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Step 1. A glaze, made from watered-down Liche Purple,was applied around the bottom portions of the armour plates.

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Painting Metal Without Metallics

Step 4. A 2:1 mix of Codex Grey and Skull White was next, finely applied along the angle lines of the armour plates.

Step 5. For the next layer the mix was reversed, so it was a 2:1 mix of Skull White and Codex Grey,again working up the highlight lines already established.

Step 6. Dots of pure Skull White were then applied at points where the highlight lines met to represent points of direct reflection.

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Step 2. A light glaze using Hawk Turquoise overlaid this. Its avery subtle layer but gives the armour an arcane quality.

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Glazing the Armour

Painting the Armour

Scenic BaseThe base was taken from asmall glass jar lid that wassprayed black. Slate wasthen glued on it to createa stepped pile. For furthertexture a lone skull wasstuck on and some GreenStuff used to fill in theunsightly gaps.


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The chain mail was simply painted black, and then Codex Grey was applied to the bottom of the links, which was in turnhighlighted with Skull White.

The fur was basecoated Astronomican Grey and thengiven a wash using a 1:1 mix of Hawk Turquoise and Chaos Black. It was highlighted back up to Astronomican Grey, and then highlighted further withSkull White.

92 WHITE DWARF PAINTING MASTERCLASS

When you paint horns you can go from dark at the baseand lighter at the tip, or shade in the opposite direction,having a lighter base and darkening at the top. Eithermethod can be effective and depends on your style andthe model itself. For this project Joe has chosen to lightenthe base of the horns. This is because, bearing in mind its

a display model, he wants the eyes of the spectator to bedrawn towards the face the lightest part of the model.

This is just one of the tricks an experienced painter canuse to grab the viewers attention and subconsciously drawtheir eyes to parts of the model they want the spectator toacknowledge first, before they appraise the entire model.

Step 1. The shield was first painted using a 1:1 mix of Codex Grey and Chaos Black. Joe painted carefully around the accoutrements hanging from the shield.

Step 2. Pure Codex Grey was built up in many thin layers vertically along the shields curvature. A thinoutline of Codex Grey was also applied to the shields edge.

Step 3. Fortress Grey was thenapplied over the same areas in the previous step. Thin layers carefully blending with the previous coat of paint is the key.

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Step 4. Skull White was used to add nuanced highlights on the shield, applied mainly along the edges but also to create tiny scratches on the surface.

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Painting the Shield

Step 1. Snakebite Leather was applied as thin stripes along the length of the horns; brush control is needed to keep the stripes separate and neat.

Step 2. Next, Bleached Bone was overlaid along the Snakebite Leather stripes, tapering out towards the tips.

Step 3. Skull White was thenadded in thin layers over the Bleached Bone stripes, keeping the majority of the layers close to the base of the four horns.

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Step 4. Joe then added nicks and chips with carefully applied Chaos Black and Skull White. Finally, athin wash of Chaos Black was brushed over the ends of the horns.

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Painting the Horns

Painting the Horns and Shield


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The process known as non-metallic metal is a techniquethat uses paints without metallic pigments to createreflective, mostly metal-looking surfaces. Shades andhighlights are created in a pictorial fashion using the

same methods that artists have been doing on canvas forcenturies. In effect, youre using a two dimensionaltechnique on a three dimensional model. Thats quite achallenging prospect and for this reason painting withnon-metallic metal is a very advanced technique thatrequires mastery of many other expert techniques, suchas rich blending and advanced colour theory.Nevertheless, the Eavy Metal team get asked a lot abouthow to achieve such an effect and so well attempt tocover the basics here. Whilst reading this page will giveyou some foundation in the technique, practice and solidbrush control are the keys to getting this effect right.

Models painted up in non-metallic metals areprimarily for display. Its rarely used on models intended

for use in the gaming environment where the chance of such a precisely painted model being chipped is muchhigher. The best way to showcase a miniature with non-metallic metal painting is in a lighted display cabinet,where the dedicated spotlights accentuate theexaggerations painted onto the model. Consideringwhere the light shines upon the model and how itreflects off surfaces is actually a good place to start.

Light SourcingMetallic objects reflect light differently to other surfacesand this needs to be exaggerated when applying paint toa miniature. On metallic objects light dramaticallychanges from dark to light when the surface changes

shape. So to achieve the non-metallic metal effect youneed to imagine, or even draw a plan, where your lightpoints are around the model so you can place yourhighlights and shade. Four points of light around a figureare generally best; you then plot how each area of non-metallic metal will react according to where the lightpoints are on the miniature. The geometric diagrams onthis page illustrate how light reflects off different shapes.

Illustrations, from fantasy art in particular, also show howartists achieve reflective surfaces in two-dimensionalform. In this case real world references are not veryuseful, as they dont convey the exaggerated highlighting

and shading you need to make the technique effective.Following a real-world reference will just leave you witha drab grey or yellow area rather than the metallic-lookyoure trying to achieve.

ContrastWhen paining non-metallic metal, contrast is the key.Each surface needs to go from black to white. Normallyyou highlight with a lighter version of the midtone. Sofor, say, Regal Blue, you might highlight with EnchantedBlue. However, when painting in a non-metallic metaltechnique you should always shade and highlight withblack and white no matter what the midtone is.

The other facet to this process is that you should addcolour to the surface to bring it to life. Metal surfacesreflect the environment around them so, if the model ismeant to be in a cave, your colour scheme will not be asbright as a miniature in strong daylight. The contrast,coupled with adding light spots (bearing in mind whereyour light points are on the model), will exaggerate thereflective quality of the metal. When you actually applythe paint you must do it in thin layers and then create aseamless blend, starting with the midtone and shadingdown before highlighting up.

Have a GoThese are just guidelines, the real results will come frompractice and learning the theory. Dont forget artists havebeen doing this for years in pictures so take inspirationfrom them and dont be afraid to just give it a go.

NON-METALLIC METAL

Left. Dave Gallaghers illustration is a perfect example of how artists paint metal in two- dimensional form.

Below. A graphical representation of how light falls on simple geometric shapes,giving you a roughguide about how to add highlights and shading to your non- metallic metals.

When he painted his Harry the Hammer, Darren Latham imagined four light sources around the miniature. This helped him visualise where the highlights and shades should be.

www.games-workshop.com


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A lot of Joes methods involve starting with a basecoatmidtone, then shading down with a wash, beforelightening back up to the midtone and beyond to thehighlight colour. Joe does it this way because it gives him asmoother blend between layers, and its easier thanpainstakingly blending to a darker shade. Another good tip

is, when using a colour like khaki to highlight a multi-coloured area such as the cloak, you should mix thehighlight with the colour on the lower layer, rather thanstraight across. So, in the case of the cloak, the khakihighlight was blended with Regal Blue and then Scab Redas Joe worked the highlights to the edge.

Step 1. The lining of the cloakwas first given a basecoat of Astronomican Grey. This was asolid layer that covered the entire area of the cloak lining.

Step 2. Separate washes of Regal Blue, Liche Purple and Chaos Black were painted into the recessed areas. Joe randomly applied each colour wash.

Step 3. Joe then worked up the raised areas back to AstronomicanGrey, this was followed by a 1:1mix of Skull White and Astronomican Grey.

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Step 4. A final strong highlight layer of Skull White was thenapplied to finish off the cloak. This was built up over many thin layers.

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Painting the Inner Cloak

Step 1. The outside of the cloak was first basecoated with a solid coat of Regal Blue.

Step 2. Starting with the Regal Blue, Joe added Scab Red to the mix, slowly and consistently adding more with each layer until he had blended to pure Scab Red.

Step 3. The recesses and deep folds of the cloak were shaded with a wash of Chaos Black.

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Step 4. The cloak was highlighted with Kommando Khaki, mixed with each colour it covered. This was then given a final highlight of Skull White.

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Painting the Outer Cloak

Painting the Cloak

The bandages were painted withDheneb Stone followed by a Baal Red and Devlan Mud wash. The area was then highlighted withDheneb Stone, with a final highlight of Skull White.

The loincloth started with a Regal Blue basecoat, which had Scab Red slowly blended into it for the first highlights. It was thenhighlighted with Kommando Khaki, before Skull White was added to the mix for a final,layered highlight.


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To really showcase his astounding skills Joe has addedsome freehand design onto the Chaos Warriors armourand weapons. Applying an intricate design onto a surfaceyou ve already spent hours painting to look like shiningmagical armour is not for the faint-hearted! Freehanddesigns are usually painted onto a neutral surface,

something that can easily be painted over if a mistake ismade, but obviously Joe didnt have that luxury here. Hefirst drew his design on paper and then slowly andaccurately translated it onto the figures armour andweapons. We can only recommend patience and pinpointaccuracy with a brush if you try this yourself.

Step 1. The helmet was painted ina similar method to the gold leaf,starting with a basecoat of Snakebite Leather.

Step 2. This was followed by ashade into the recesses with awash of Chaos Black.

Step 3. The Snakebite midtone was reapplied and then worked up by adding an increasing amount of Skull White over several layers.

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Step 4. Pure Skull White was applied to the raised areas, and purple and turquoise glazes were used to achieve the same subtle effect as the armour.

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Painting the Helmet

Step 1. Joes non-metallic gold leaf starts with a basecoat of Snakebite Leather. A thin line of Chaos Black was used to enhance and separate the design from its surroundings.

Step 2. The Snakebite Leather was then shaded with a very thin washof Chaos Black.

Step 3. Joe started to build up the design using a mix of Snakebite Leather and Skull White, adding more white into the mix over several layers.

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Step 4. Skull White was used to edge the design. This was divided from the design with a thin line of Codex Grey, creating the impression of a silver edge.

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Painting the Gold Leaf

The intricate freehand design onthe axe head was replicated onboth the axes and across various parts of the Chaos Lords armour.

The skulls were painted using avery similar method to the bandages, the only difference being the wash, which was pure Devlan Mud instead of Baal Red.

Painting the Armour Details


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The shield straps were painted in asimple three-stage method: a base of Scorched Brown, followed by alayer of Vermin Brown and thenBleached Bone.

The axe haft was given a base colour of Scorched Brown. Joe mixed this colour with Bleached Bone, painting on the wood grainin progressively lighter mixes.

The pendant was painted using the same technique that Joe used for the Chaos Lords golden helm.

White Dwarf,Games WorkshopDesign Studio,Willow Road, Lenton,Nottingham,

NG7 2WS,United Kingdom

ASK

This month weve received a questionfrom Denis (no surname supplied) whoresides in Avernes, France. He askedabout the new White Dwarf model,specifically how to paint his large beard.Over to Eavy Metals Keith Robertson.

If youve ever wanted to ask an expert painter a question or you have a painting problem that needs solving, then send your query to the address below.

Keith: Painting beards is just like painting hair. Its easier than many things as the rough texture of modelled hair provides the paint lots of ridges to cling to, naturally giving you shading and highlighting to some extent. For a white or grey- tinged beard I would start with a coat of Astronomican Grey. Shade with a wash of Badab Black, and when dry shade again with Devlan Mud.Then you need to bring back the midtone so brushover another coat of Astronomican Grey, avoiding the recesses. You can then highlight from there; you may wish to go for an Astronomican Grey and Skull White mix, working up towards pure white, or bypass that layer and go straight to Skull White.

When painting beards be careful where the hair meets the face you dont want a thick black line around the join as this will make the paint scheme look artificial.

The White Dwarf model is only available toWhite Dwarf subscribers. To set up your

subscription, visit your local Hobby Centre, callDirect on 0115 91 40000 or log on towww.games-workshop.com

Final Details

The pouch was painted AstronomicanGrey and then given a Badab Black wash. The Astronomican Grey was reapplied and then highlighted withpure Skull White.

non metalic metal

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